classic 30 general terms

Question 1

Katabasis

Answer 1

• A journey to the underworld or a symbolic descent, often for knowledge or transformation.
• Found in myths such as Odysseus’ Nekyia in The Odyssey and Orpheus’ descent to retrieve Eurydice.
• Represents a hero’s confrontation with death, fate, or hidden truths.

Question 2

Nekyia

Answer 2

• A specific type of katabasis that involves summoning and communicating with the dead.
• In The Odyssey, Odysseus consults the spirit of Tiresias for guidance.
• Also appears in psychological theory (Jung) as a metaphor for confronting the unconscious.

Question 3

Enthousiasmos and Ecstasis

Answer 3

• Enthousiasmos: Being filled with divine inspiration, often in religious or artistic contexts.
• Ecstasis: A state of standing outside oneself, linked to Dionysian rituals and altered consciousness.
• Both are key to the worship of Dionysus, as seen in The Bacchae.

Question 4

Omophagia and Sparagmos

Answer 4

• Omophagia: The act of eating raw flesh, often in Dionysian rituals.
  Sparagmos: The tearing apart of a living being, symbolizing divine possession and primal energy.
• In The Bacchae, Pentheus is torn apart (sparagmos) by Maenads, including his mother.

Question 5

Stichomythia

Answer 5

• Rapid, single-line exchanges of dialogue in Greek drama, often in arguments or tense moments.
• Heightens drama and intensifies conflict, as seen in Agamemnon and Oedipus Rex.
• Demonstrates sharp wit and contrasts between opposing viewpoints.

Question 6

Ekkyklema

Answer 6

• A wheeled platform used in Greek theater to reveal interior scenes, especially acts of violence.
• Avoided showing violence onstage while emphasizing its aftermath (e.g., Agamemnon’s murder).
• Often used in tragedies like Oresteia to display bodies of the dead.

Question 7

Hamartia

Answer 7

• A character’s tragic flaw or error that leads to their downfall.
• Not always a moral failing—sometimes a mistake or misjudgment (e.g., Oedipus’ pursuit of truth).
• Central to Aristotle’s theory of tragedy in Poetics.

Question 8

Hubris

Answer 8

• Excessive pride or defiance of the gods, leading to divine punishment.
• Common in Greek tragedy, as seen in Pentheus (The Bacchae) and Agamemnon (Oresteia).
• Often tied to a hero’s downfall, reinforcing moral and cosmic order.

Question 9

Chorus

Answer 9

• A group of performers in Greek drama that comment on the action, provide background, and guide audience interpretation.
• Represents collective voices, like the elders in Agamemnon or the Bacchantes in The Bacchae.
• Can offer wisdom, irony, or foreshadowing while engaging with the play’s themes.

Question 10

Greek Reciprocity (Xenia & Timē)

Answer 10

• Xenia: Sacred guest-host relationship, as seen in The Odyssey (good: Phaeacians, bad: Cyclops).
• Timē: Honor or recognition, motivating warriors like Achilles and Odysseus.
• Violations of reciprocity often lead to divine punishment or revenge.

Question 11

Aeschylus

Answer 11

• One of the great tragedians of ancient Greece, known as the father of tragedy.
• Wrote The Oresteia, the only surviving trilogy, exploring justice and divine law.
• Innovated Greek theater by adding a second actor and expanding dramatic dialogue.

Question 12

Euripides

Answer 12

• A tragedian known for psychological depth, complex female characters, and questioning traditional beliefs.
• Wrote The Bacchae, Medea, and Hippolytus, often exploring human passion and irrationality.
• Challenged the gods’ morality and the structures of power in his plays.

Question 13

Formular Economy

Answer 13

• The use of repeated phrases and structures in oral poetry to aid memorization and composition.
• Key to Homeric epics, featuring stock phrases like “rosy-fingered Dawn.”
• Allows improvisation while maintaining poetic rhythm and structure.

Question 14

Parry and Lord

Answer 14

• Milman Parry and Albert Lord studied oral tradition and the composition of Homeric epics.
• Proposed that The Iliad and The Odyssey were products of oral tradition, not single authorship.
• Showed how repeated formulaic expressions enabled large-scale oral storytelling.

Question 15

Kleos (Aphthiton)

Answer 15

• Kleos: Everlasting glory, achieved through heroic deeds and great feats.
• Aphthiton: “Unfading,” meaning true glory survives beyond death, as seen in Achilles.
• Central to Homeric heroes, shaping their choices and actions in war and life.

Question 16

Apostrophe

Answer 16

• direct address to someone absent, dead, or an abstract concept.
• Used in epic poetry for dramatic effect, as when Homer addresses the Muse.
• Enhances emotional intensity and connection with the audience.

Question 17

Homeric Question

Answer 17

• Debate over whether Homer was a single author or if The Iliad and The Odyssey were compiled over time.
• Involves discussions of oral tradition, authorship, and historical context.
• Parry and Lord’s research supports the idea of an evolving, orally transmitted epic tradition.

Question 18

Mimesis

Answer 18

• The concept of imitation or representation, central to Greek art and drama.
• Aristotle’s Poetics defines tragedy as an imitation of action that evokes catharsis.
• Influences literary theory, discussing how art reflects reality.

Question 19

Catharsis

Answer 19

• The emotional cleansing or purging experienced by the audience of a tragedy.
• Aristotle describes it as the release of pity and fear through dramatic storytelling.
• Key to the impact of Greek tragedy, as seen in Oedipus Rex and The Oresteia.

Question 20

Thyrsus

Answer 20

• A staff wrapped in ivy and topped with a pine cone, associated with Dionysus and his followers.
• Symbol of divine inspiration, ecstatic revelry, and fertility in The Bacchae.
• Wielded by Maenads and satyrs in Dionysian rituals, often granting supernatural strength.